'Whatareyouonabout,Gloopy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Matt Hires Emerged As a Golden-Voiced Troubadour with a Penchant for Setting Heart-On-Sleeve Lyrics to Sweetly Infectious Melody
www.matthiresmusic.com www.facebook.com/matthires http://twitter.com/matthires BIOGRAPHY On his debut album, Matt Hires emerged as a golden-voiced troubadour with a penchant for setting heart-on-sleeve lyrics to sweetly infectious melody. Now, on his sophomore release entitled This World Won't Last Forever, But Tonight We Can Pretend, Hires weaves in grander arrangements, brighter hooks, and a more richly textured sound to assert himself as a formidable new force in the singer-songwriter realm. “My favorite artists are the ones who keep making records that give you something different from what came before, but still hold onto their own unique sound overall,” says the 27-year-old Tampa-based singer/guitarist. “With this album, I pushed into the direction of making music that’s more fun and pop-oriented but also retains that sense of honesty that I’ve always valued as a songwriter.” Indeed, the album offers up more than its share of sing-along-worthy melodies and sunny harmonies, all while elegantly showcasing Hires’s warm yet masterful vocal work. At the same time, the album bears a bigger, more bombastic energy that reveals the deep-seated influence of rock-and-roll heroes like The Band and Bruce Springsteen. And all throughout the album (the follow-up to 2008’s Take Us To The Start), Hires delivers delicately rendered lyrics that shift between sharp-eyed social commentary and strikingly intimate storytelling. “Even though I broke out of the traditional singer-songwriter mold, there are still some songs that are very confessional,” Hires notes. -
The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
Body in the Lyrics of Tori Amos
California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 3-2014 "Purple People": "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos Megim A. Parks California State University - San Bernardino Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Parks, Megim A., ""Purple People": "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos" (2014). Electronic Theses, Projects, and Dissertations. 5. https://scholarworks.lib.csusb.edu/etd/5 This Thesis is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. “PURPLE PEOPLE”: “SEXED” LINGUISTICS, PLEASURE, AND THE “FEMININE” BODY IN THE LYRICS OF TORI AMOS ______________________ A Thesis Presented to the Faculty of California State University, San Bernardino ______________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition ______________________ by Megim Alexi Parks March 2014 “PURPLE PEOPLE”: “SEXED” LINGUISTICS, PLEASURE, AND THE “FEMININE” BODY IN THE LYRICS OF TORI AMOS ______________________ A Thesis Presented to the Faculty of California State University, San Bernardino ______________________ by Megim Alexi Parks March 2014 ______________________ Approved by: Dr. Jacqueline Rhodes, Committee Chair, English Dr. Caroline Vickers, Committee Member Dr. Mary Boland, Graduate Coordinator © 2014 Megim Alexi Parks ABSTRACT The notion of a “feminine” style has been staunchly resisted by third-wave feminists who argue that to posit a “feminine” style is essentialist. -
PDF (1.01 Mib)
.Two long-awaitetj albums from Lilith f aves MATTHEW CARDINALE contributing writer The latest from Tori Amos and Paula Cole are journeys: Tori's journey deep- er into planet electronica and Paula's al growth in "Pearl," kindness in affirmation of love and divinity. "Amen" and love in "God is Watch- Together, they're just perfect to take ing Us." us into the new millennium. Paula's music has become fuller, more I'm not sure if To Venus and Back When consistent and more complete. Sure, can You're is the correct title for Tori's new desig a rock she's not doing the verse/ chorus repeat n Your o,,, star like li . P1tli "fl double-disc album, because I don't vvn Ug/ on Arn Oro thing anymore, but who is these days think she's really come back at ry Shirts os, You besides Ricky Martin. "I Wanna be Some- 0 . too. all. Disc one is a forest of brand l'v7. n her third body" features T-Boz from TLC, just new material, while disc two is Sh:rylanc1, p 。 オ セ 。 ケ lost in th Flt gets pretty, one example of Paula's objective to inte- Tori live in concert during her Lilith セ 。 ウ later rea Cofe sto'P e Woods Of liI>lforo the rhymes are work- grate Lilith Fair pop with R&B. She . th air st. I scued b 'Ped t d e hetic a Warts .S: a er. 0 take a ing and it's lovely. The last track, sounds a bit like Mary Blige as she , recent Plugge tour: our own pn- 0 ry J. -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Views, We Study How Preregistration Has Been Used from Its 2005 Inception to the End of 2012
COPYRIGHT PREREGISTRATION: EVIDENCE AND LESSONS FROM THE FIRST SEVEN YEARS, 2005–2012 * ** Dotan Oliar & Nicholas Matich In 2005 Congress created a new copyright formality: preregistration. Preregistration addresses a growing phenomenon in which copyrighted works are leaked to the Internet prior to official release. Preregistering a work allows copyright owners immediate access to courts and an expanded menu of remedies. Based on an originally constructed dataset coupled with user interviews, we study how preregistration has been used from its 2005 inception to the end of 2012. Over 6,000 works have been preregistered in six eligible categories. Several lawsuits were filed in reliance on preregistrations. Most preregistrations are of motion pictures and literary works. Substantial commercial use of the system has been limited to the movie and TV industries. The music, publishing, and computer software industries virtually have not used it in the ordinary course of business. A few particular users have preregistered a great number of works. Different from the use anticipated by Congress, preregistrations were often obtained after infringement (or even a business dispute) had already started. Most preregistrations were made by individual, small-entity, or other one-time users. The Article recommends that: (1) the duration of preregistrations should be limited; and (2) preregistration (and other copyright) fees should vary with entity size. It offers lessons for formalities and copyright reform: (1) Digital-age formalities may not give rise to the distributional concerns that characterized old formalities; (2) newly minted formalities may limit, rather than expand, access to expressive works; (3) the rates of subsequent registration of preregistered works vary across categories and can inform copyright lawmaking; and (4) the Copyright Office’s views may be affected by its institutional interest. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
November 18 November 25
NOVEMBER 18 ISSUE NOVEMBER 25 Orders Due October 21 24 Orders Due October 28 axis.wmg.com 11/18/16 AUDIO & VIDEO RECAP ARTIST TITLE LBL CNF UPC SEL # SRP ORDERS DUE Amos, Tori Boys for Pele (Deluxe)(2CD) ACG CD 081227947767 553145 19.98 10/21/16 Boys for Pele (Deluxe)(2LP 180 Gram Amos, Tori ACG A 081227947774 82862-A 31.98 10/21/16 Vinyl) GTA Good Times Ahead (Vinyl) WB A 093624918400 556571 17.98 10/21/16 High Valley Dear Life WNS CD 093624916734 557472 13.98 10/21/16 Highly Suspect The Boy That Died Wolf (Explicit) 3WE CD 814908021995 557819 13.99 10/21/16 The Boy That Died Wolf Highly Suspect 3WE TC 814908022046 557819 9.98 10/21/16 (Cassette)(Explicit) Stand Up (The Elevated Jethro Tull PRH CX 190295932862 557797 34.98 10/21/16 Edition)(2CD/DVD) NewSong The Best Christmas Ever WOR CD 863041000305 000305 13.98 10/21/16 The Rock And Roll Hall Of Fame: Volume Rock And Roll Hall Of 3 Limited Edition (180 Gram White w/ TL A 610583531923 31984-Z 25.98 10/21/16 Fame, The Black & Blue Swirl Vinyl) Last Update: 09/22/16 For the latest up to date info on this release visit axis.wmg.com. ARTIST: Tori Amos TITLE: Boys for Pele (Deluxe)(2CD) Label: ACG/Atlantic Catalog Group Config & Selection #: CD 553145 Street Date: 11/18/16 Order Due Date: 10/21/16 UPC: 081227947767 Box Count: 30 Unit Per Set: 2 SRP: $19.98 Alphabetize Under: A TRACKS Compact Disc 1 01 Beauty Queen / Horses (Remastered) 10 Way Down (Remastered) 02 Blood Roses (Remastered) 11 Little Amsterdam (Remastered) 03 Father Lucifer (Remastered) 12 Talula (Remastered) 04 Professional Widow (Remastered) 13 Not The Red Baron (Remastered) 05 Mr. -
Complete Examples (Bibliographic) April 2016 (Includes September 2015 MARC Updates)
RSC/RDA/Complete Examples (Bibliographic) April 2016 (includes September 2015 MARC updates) COMPLETE EXAMPLES – BIBLIOGRAPHIC RECORDS These examples represent a particular agency’s policies on the application of RDA instructions and are illustrative not prescriptive. These examples sometimes reflect the application of optional additions to the instructions. They do not show the application of alternatives to the instructions. Access points, which are not RDA elements, have been included in some examples because they are part of the RDA instructions. MARC examples use ISBD punctuation and MARC input conventions. MARC examples show some data that has no RDA equivalent. Shaded rows indicate core elements. For core elements with multiple instances, only the first instance of the element has been shaded. Work and expression elements and relationships which appear in MARC bibliographic records are shown. WEMI entities are labelled using the following abbreviations: W: Work; E: Expression; M: Manifestation; and I: Item. AUDIO DISC (SPOKEN WORD) – RDA ELEMENTS RDA RDA ELEMENT ENTITY DATA RECORDED REF 2.3.2 Title proper M Lives of girls and women 2.4.2 Statement of responsibility M Alice Munro relating to title proper 2.4.2 Statement of responsibility M narrated by Judy Mahbey relating to title proper 2.4.2 Statement of responsibility M produced by Lawrie Seligman relating to title proper 2.4.2 Statement of responsibility M recording engineer: Eric Wagers relating to title proper 2.5.2 Designation of edition M Abridged 2.5.4 Statement of responsibility -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
America and the Musical Unconscious E Music a L Unconl S Cious
G Other titles from Atropos Press Music occupies a peculiar role in the field of American Studies. It is undoubtedly (EDS.) “It is not as simple as saying that music REVE/P JULIUS GREVE & SASCHA PÖHLMANN Resonance: Philosophy for Sonic Art recognized as an important form of cultural production, yet the field continues does this or that; exploring the musical On Becoming-Music: to privilege textual and visual forms of art as its objects of examination. The es- unconscious means acknowledging the Between Boredom and Ecstasy says collected in this volume seek to adjust this imbalance by placing music cen- very fact that music always does more.” ter stage while still acknowledging its connections to the fields of literary and Philosophy of Media Sounds ÖHLMANN Hospitality in the Age of visual studies that engage with the specifically American cultural landscape. In Media Representation doing so, they proffer the concept of the ‘musical unconscious’ as an analytical tool of understanding the complexities of the musical production of meanings in various social, political, and technological contexts, in reference to country, www.atropospress.com queer punk, jazz, pop, black metal, film music, blues, carnival music, Muzak, hip-hop, experimental electronic music, protest and campaign songs, minimal ( E music, and of course the kazoo. DS. ) Contributions by Hanjo Berressem, Christian Broecking, Martin Butler, Christof Decker, Mario Dunkel, Benedikt Feiten, Paola Ferrero, Jürgen AMERIC Grandt, Julius Greve, Christian Hänggi, Jan Niklas Jansen, Thoren Opitz, Sascha Pöhlmann, Arthur Sabatini, Christian Schmidt, Björn Sonnenberg- Schrank, Gunter Süß, and Katharina Wiedlack. A A ND TH AMERICA AND THE MUSICAL UNCONSCIOUS E MUSIC A L UNCON S CIOUS ATROPOS PRESS new york • dresden 5 6 4 7 3 8 2 9 1 10 0 11 AMERICA AND THE MUSICAL UNCONSCIOUS JULIUS GREVE & SASCHA PÖHLMANN (EDS.) America and the Musical Unconscious Copyright © 2015 by Julius Greve and Sascha Pöhlmann (Eds.) The rights of the contributions remain with the respective authors. -
Album Top 1000 2021
2021 2020 ARTIEST ALBUM JAAR ? 9 Arc%c Monkeys Whatever People Say I Am, That's What I'm Not 2006 ? 12 Editors An end has a start 2007 ? 5 Metallica Metallica (The Black Album) 1991 ? 4 Muse Origin of Symmetry 2001 ? 2 Nirvana Nevermind 1992 ? 7 Oasis (What's the Story) Morning Glory? 1995 ? 1 Pearl Jam Ten 1992 ? 6 Queens Of The Stone Age Songs for the Deaf 2002 ? 3 Radiohead OK Computer 1997 ? 8 Rage Against The Machine Rage Against The Machine 1993 11 10 Green Day Dookie 1995 12 17 R.E.M. Automa%c for the People 1992 13 13 Linkin' Park Hybrid Theory 2001 14 19 Pink floyd Dark side of the moon 1973 15 11 System of a Down Toxicity 2001 16 15 Red Hot Chili Peppers Californica%on 2000 17 18 Smashing Pumpkins Mellon Collie and the Infinite Sadness 1995 18 28 U2 The Joshua Tree 1987 19 23 Rammstein Muaer 2001 20 22 Live Throwing Copper 1995 21 27 The Black Keys El Camino 2012 22 25 Soundgarden Superunknown 1994 23 26 Guns N' Roses Appe%te for Destruc%on 1989 24 20 Muse Black Holes and Revela%ons 2006 25 46 Alanis Morisseae Jagged Liale Pill 1996 26 21 Metallica Master of Puppets 1986 27 34 The Killers Hot Fuss 2004 28 16 Foo Fighters The Colour and the Shape 1997 29 14 Alice in Chains Dirt 1992 30 42 Arc%c Monkeys AM 2014 31 29 Tool Aenima 1996 32 32 Nirvana MTV Unplugged in New York 1994 33 31 Johan Pergola 2001 34 37 Joy Division Unknown Pleasures 1979 35 36 Green Day American idiot 2005 36 58 Arcade Fire Funeral 2005 37 43 Jeff Buckley Grace 1994 38 41 Eddie Vedder Into the Wild 2007 39 54 Audioslave Audioslave 2002 40 35 The Beatles Sgt.